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Twenty years ago it took only three ASCAP payouts before hitting four figures. So maybe a time machine? 🙂 Seriously though, I think you’re seeing the affects of streaming on this business.
I show up on IMDB in the soundtrack listings for two movies. One was a Jingle Punks placement and the other by Crucial.
Not usually but possibly if your track is listed in the credits.
Today’s international statement was 146 pages long. It paid only $232.96 more than a SIX page statement from 2010.
Absolutely! I did hundreds of work for hire songs for educational projects over my career. There were times I would stop and think wait, haven’t I written this already?
Same pennies here. Probably not worth chasing.
Reading this topic, I did some math on mine. I got $146.34 for the category “Internet: Audio/Visual”. Total streams across all the services was 12,318,256. Average timing equals 26 seconds. Average payout per stream – 0.000012.
This is a big reason a 100 page statement pays out the same as an 11 or 12 page statement did 10 or 12 years ago. I don’t find it worth the effort anymore.
If a library asked me to “develop a piece of music, don’t just build on a loop!” I would definitely listen to a few examples that they feel meets this criteria, in the style you will be providing. No better way to learn what it is they mean.
The lyrical content will matter also. A song about meeting a girl named Joan in 2003 at a Christmas party is going to have limited use. Keep it generic.
I’ve been in 29 episodes of Impractical Jokers through JP. Never seen the show though 🙂
I think SoundScape is in Canada. But it is also a subscription library.
If you are submitting tracks to Crucial Music you do have to register them with a PRO before submitting. They use the registration as verification of rights holders.
Aside from the education, it’s also about the people you meet during those years. I still work with musicians and friends that I met at Berklee so many years ago!
Is this what you’re referencing?
I think they may have been referring to licensing issues. For example, most licenses state that the sounds may not be used in isolation, they must be combined with one or more other elements. Some licenses state that compositions using their sounds cannot be placed in music libraries at all. Composers breaking these agreements make problems for publishers, libraries and etc.
And yes, samples/loops from Splice could potentially cause issues. Read the Splice licensing agreement closely and always work within its parameters.
Berklee grad here also though about 100 years ago 🙂